HANDMADE – JAPAN@ Craft London

12-14 January 2014

HANDMADE – JAPAN @ Craft LondonA Showcase of Traditional Beauty and Balance

HANMADE-JAPAN is a brand composed of over 500 Japanese craft makers.

These Japanese craft makers have inherited techniques and traditions dating back many years, some as far back as 1600 years. All of these craftspeople share a common philosophy: “living with nature without trying to control nature by force”. This philosophy of harmony and balance is evident in their products, which are made using eco-oriented materials and traditional methods.

This is the first time that 15 of these Japanese craft makers are showcasing their products in the UK. These handmade products, carefully produced by skilled craft makers,are spectacular to behold.

Representatives of the following 15 craft makers will be at Craft London.

Handmade, hand-carved combs, Handmade leather bags. Ceramic grilling plates , Japanese geta sandals, Kimono shawls made from silk pongee, Lustrous cultivated pearls, lacquer ware chopsticks. Gamaguchi cloth bags, Cast iron teapots, Koshu Inden urushi lacquered on deer leather products, Handmade, all-natural-fibre brooms, Japanese chefs knives, Kimono and Cosmetic brushes.

Demonstrations by the craft makers are scheduled during the exhibition.

This program has been made possible with the support of the Central Federation of Societies of Commerce and Industry Japan of the craft makers attending.

HANDMADE – JAPAN@ Craft London

12-14 January 2014

Tsuge (boxwood) combs from the Satsuma region of Japan are made with wood from the Ibusuki region of Kagoshima Prefecture, and date back to the mid-Edo period (1716-1789). Satsuma boxwood is valued for its dense quality, which helps to prevent the comb teeth from breaking, and for its beautifully lustrous sheen.

To create the combs, boxwood is harvested, cut into comb shapes, naturally air-dried, then hung to create a defined curve. The wood is then smoked for several days. This smoking is a unique production stage, conducted only by Kita Tsuge Seisakujo, and results in finer colour and shine in the finished product. The combs are then planed and the teeth shaped and finished. Finally, the combs are finished with multiple coatings of camellia oil.

These combs do not create the static electricity that can result from combs made from artificial materials, and are kind to the hair. They improve over time, gaining a deep shine. These are products to treasure for a lifetime.

Boxwood Combs and Brushes by Kita Tsuge Seisakujo

Kita Tsuge Seisakujo2-24-13 Omure, Ibusuki-shi, Kagoshima,891-0401 Japankitatsuge@kushi.jphttp://www.kushi.jp

Kobo Aki bags are created to embody the key design themes of the atelier: lightweight, soft, simple, easy-to-use. Working only with leather, Kobo Aki seeks out new creative expressions of these themes through tireless experimentation.

Leather is a material to be treasured, a gift from the animals from which it is derived. Kobo Aki is committed to communicating the inherent beauty of the texture and sheen of natural leather, Bags are created to ensure that, over time, they will grow supple and develop a rich lustre. The characteristics of each piece of this luxury material handled defines how each bag is made, with the hope of translating the natural beauty of leather into practical bags which are nevertheless a joy to own. Kobo Aki bags are classic investment pieces which can adapt to meet the diverse needs of modern women.

Handmade Leather Bags by Kobo Aki

Kobo Aki7-48-14 Okusawa, Setagaya-ku, Tokyo,158-0083 Japaninfo@koubou-aki.nethttp://www.koubou-aki.net/

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Geta are a type of wooden-soled sandal that have long been prized in Japan—where the feet are said to be a “second heart”—as a hygienic and health-conscious footwear choice. Chiezo has updated the geta tradition with sandals that are comfortable to wear without compromising on style. Chiezo geta soles are crafted from high-quality mahogany and finished with a uniquely shaped cloth thong which cradles the entire foot and has been designed to prevent chafing. Unlike traditional geta, this thong is attached to each side of the sole, making for a much better fit and a more Western look.

Chiezo geta are the perfect match for kimono but work equally well with skirts, dresses, and jeans, giving a hint of Japanese chic to any outfit. They are also great for your feet. In Japan, geta are recommended to people suffering from various foot problems, including bunions. They also stimulate pressure points on the feet.

Geta Sandals by Chiezo

Chiezo31-8 Higashi-machi, Kurume, Fukuoka,830-0032 Japaninfo@chiezo-geta.comhttp://www.chiezo.me/index.html

The Daigamori area has a long history of ceramics, thanks to its soil, which is rich with copper and iron, and has high levels of lignite. This sort of volcanic cohesive soil is ideal for making pottery. In 1976, Shosai Abe, the founder of the Daigamoriyaki brand, built three types of kiln in Daigamori: up-draft, down-draft, and through-draft. These three kilns are used to fire locally sourced clay into the range of cookware and tableware that makes up the Daigamoriyaki brand.

In particular, Daigamoriyaki ceramic plates are excellent to cook on, thanks to the infrared effect of the material. This ensures that the heat penetrates right through to the core of the ingredients, be it fish, meat, or vegetables. These plates are ideal for drawing out the natural deliciousness of ingredients, and make it so simple to cook authentic toban cuisine. The brand also produces a range of “cookware for men”, of which the gohan-kama, or rice cooker, is the best selling item.

Ceramic Cookware by Daigamoriyaki

Daigamoriyaki2-11-28 Rembo, Wakabayashi-ku,Sendai-shi, Miyagi, 984-0052 Japaninfo@daigamori.jp http://www.daigamori.jp/

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Oshima Tsumugi silk pongee is decorated with distinctive and beautifully fine ikat patterning, dyed with colorants derived from yeddo hawthorn and mud. It is a soft, light, and user-friendly cloth which does not easily wrinkle.

Early Oshima Tsumugi silk pongee was woven using hand-spun threads on a traditional loom, and was made for commoners’ use. An edict in 1720 temporarily made wearing the pongee the privilege of the ruling clan only, but by the 1870s, commercial trade had begun and the fabric was soon a hit across Japan.

It was also around this time that the method of dyeing silk pongee with mud, unique to the island of Amami Oshima, became established. In 1895, glossed thread began to be used, and in 1897, a more sophisticated loom was introduced, greatly enhancing production efficiency. In 1902, binding machines were developed, which marked the beginnings of the technology that allows producers today to create Oshima Tsumugi silk pongee with such intricate and detailed patterns.

Oshima Tsumugi Silk Pongee by Hajime Shoji

Hajime Shoji 30-1 Naze Ariyacho, Amami-shi, Kagoshima, 894-0062 Japaninfo@hajimeshoji.comhttp://hajimeshoji.com/

Akoya pearl oysters suffered rapid population depletion in Japan as a result of over-exploitation in the quest for natural pearls. In response, there was a move to protect and to propagate pearl oyster stocks, as well as to take up the challenge of pearl cultivation. Over time, experts in Japan developed the technical skills necessary to successfully cultivate pearls of outstanding quality.

Tensei Pearl cultivates pearls along the jagged coastline of the Uwa sea in Ehime prefecture. Here, the beautiful waters and gentle tides provide the perfect environment for pearl cultivation, which started in the region in 1907. Tensei Pearl cultivates pearls under a strict policy designed to ensure consistently high quality: pearls must be beautiful and long-lasting.

Tensei Pearl is involved at every stage, from cultivation to harvesting, sorting to designing, and finally sales. Tensei Pearl accessories are carefully created by hand to showcase the natural and lustrous beauty of each individual pearl. The range includes necklaces, earrings, rings, and pendants.

Tensei Pearl by Tensei Pearl

Tensei Pearl230-2 Tsushimacho Naru, Uwajima-shi,Ehime, 798-3333 Japantenseipearl@gmail.comhttp://www.tenseipearl.jp/

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At Nakazawa, production starts by selecting which parts of the leather to be used, through a careful process of considering how the seams will appear and the direction of fibres. This seemingly simple stage is a vital step in creating bags of superior quality. It is critical that the leather be cut in such a way as to ensure the leather looks as beautiful as possible. This may sound obvious, but this fundamental stage requires high levels of expertise and experience.

Ultra-thin leather is used at Nakazawa; this means that both skill and concentration are required to create the bags. More than 50 parts are used for each bag, and at each seam the stitching must be evenly spaced and flawlessly beautiful. This may also seem simple, but such attention to detail is the mark of highly skilled craftspeople, working according to more than 80 years of leather craft tradition.

Handmade Leather Bags by Nakazawa

Nakazawa3-18-11 Yotsugi, Katsushika-ku, Tokyo,124-0011 Japannakazawa@kih.biglobe.ne.jp http://nakazawa.pos.to/

The unique style of Wakasa-nuri lacquer technique layers urushi lacquer over shell and egg shell to create patterns that recall shimmering ocean depths. Wakasa-nuri lacquer chopsticks are a distillation of the history and the creativity of the Wakasa-nuri technique. The chopsticks crafted by Fujimoto Shoten are designed to fit perfectly into the modern lifestyle, while still representing the time-honoured traditions of Wakasa-nuri.

The beginnings of Wakasa-nuri are said to lie in the 17th century, with a lacquer craftsman who was inspired by a particular type of gilded lacquer painting from China and by the glittering patterns of the ocean floor. The golden age of Wakasa-nuri was during the mid to late Edo period (1716-1867), when it was used together with gold leaf stamping and grinding (aogai blue shell, egg shell), mother-of-pearl inlay, and maki-e powder sprinkling techniques were all used concurrently. It is said that over 200 techniques for use in Wakasa-nuri were perfected during this period.

Wakasa-nuri Chopsticks by Fujimoto Shoten

Fujimoto Shoten13 Akasakacho Akasaka, Fukuyama-shi,Hiroshima, 720-0843 Japan miimlove69@gmail.com http://nttbj.itp.ne.jp/0849511561/index.html

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Tetsubin cast iron teapots are made by pouring liquid iron into a mould. Traditionally, the body, spout, lid, and knob would be cast, while the handle would be hammered by blacksmiths.

Handmade ironware has historically been very expensive, due to its intensive production process. Even during the Kamakura period (1185-1333), ironware was too expensive to become an item in common use. In the Meiji period, mechanisation of some processes made it possible to make ironware at a slightly greater volume, but to this day it remains a high value and luxury item.

The traditionally made and elegantly decorated cast iron teapots from Nishimura Shojudo feature copper lids with plum-shaped knobs and nari-gane, iron pieces inlaid in the base which “sing” when the water boils. They are ideal for tea ceremony use but just as suitable as an everyday item. Iron from ironware is much more readily absorbable into the body than iron contained in food, so regular use may help to prevent mild anemia.

Iron Teapots by Nishimura Shojudo

Nishimura Shojudo484-2 Nakanocho, Shimogyo-ku,Kyoto-shi, Kyoto, 600-8032 Japanorder@web-douguya.comhttp://www.web-douguya.com/

These sweet and versatile cloth bags with metal clasps are known as gamaguchi, literally “toad mouths”, and combine traditional techniques with modern and colourful Kyoto fabrics. The history of the gamaguchi clasped purse dates back to the Meiji period (1868-1912), when it was first introduced in the early 1870s. A critical factor in the rising popularity of gamaguchi was likely the issue, by the national government, of low value bills, as well as the introduction of clasps made from cheaper metal, which drove the price of the bags down. The steady Westernisation of Japanese fashion and lifestyles would also have been a factor.

Kataoka gamaguchi bags are all made with textiles featuring original designs. They are large enough to fit credit cards (short side up). They can also be used to hold keys, medicine, and small items. Each bag is strengthened with elastic in the base, as has piping around the outside, to ensure durability and help the bag to hold its shape.

Gamaguchi Clasped Cloth Bags by Kataoka

Kataoka1-57-3 Bunkicho, Higashiyama-ku,Kyoto-shi, Kyoto, 605-0028 Japankataoka@marble.ocn.ne.jp

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Koshu lacquered deerhide, also known as inden, is the product of more than 400 years of tradition. By the late Edo Period (1603-1867), lacquered deerhide goods were already well known; reference is made to them in Tokaidochu Hizakurige, a humorous book published in the same period. In 1692, craftsmen were inspired by the vivid colours of leather items given to the feudal government by foreign visitors, and started to produce imitations. These imitations were initially referred to as “Indea leather”, and it is from this name that the current term, inden, was derived.

Inden sacks and pouches are light, soft and durable, while the lacquer ensures that wallets and purses do not easily slip out of pockets. The more they are used, the softer and easier to use they become. The lacquer patterns include delicate cherry blossoms, irises, and diamond shapes, many of which were introduced when samurai began to incorporate items made of deerhide into their armour.

Koshu Lacquered Deerhide by Inden Yamamoto

Inden Yamamoto3-8-4 Asake, Kofu-shi, Yamanashi,400-0862 Japanyamamoto@inden.sakura.ne.jphttp://www.yamamoto-inden.com/

Traditional, handmade, all-natural-fibre brooms and brushes known as Nanbu Hoki. These brooms are made with Kochia, or “broom grass”, and excel at the removal of fine dust while being gentle on surfaces. Production of Nambu Hoki brushes begins with preparing the soil, which is tilled and composted with organic material. Seeds are then carefully planted by hand. The broom grass is harvested at the end of August, when it is still lush and green, and then blanched and air-dried.

Veteran craft workers then carefully select only the finest blades of grass, by hand, then begin the process of creating the brushes. The work is divided into 15 stages, and takes up to five people up to one month, while premium products can take up to three years. The blades of the grass are bound together, then woven with silk thread in intricate patterns. Takakura Kogei products more than 60 products, including long- and short- handled brushes, swirl-shaped brushes, and even miniature brushes for computer keyboards.

Nanbu Hoki by Takakura Kogei

Takakura Kogei9-115 Toda, Kunohe-mura, Kunohe-gun,Iwate, 028-6612 Japantakakura@nanbuhouki.jphttp://nanbuhouki.jp/

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A range of beautiful traditional kimono and yukata, or summer kimono, in sumptuous fabrics, stunning colours, and elegant patterns.

The kimono as we recognise it today dates back to the Azuchi Momoyama period (1573-1603), when the kosode robe, a kimono robe with small sleeve openings previously worn as an undergarment, became an increasingly decorative outer garment. The Edo period (1603-1867) was a golden age for kimono; the senshoku dyeing technique was also developed, allowing incomparable progress to be made with fabric design—depth, style and detail became possible to a level unlike anything that had come before.

After the Meiji Revolution of 1868, fashion from the West was introduced, and over time the trend for wearing Western clothes took hold. This move away from kimono only served to highlight the distinctive elegance of these traditional garments. Today, kimono are rarely a part of people’s everyday wardrobes, but Japan’s kimono tradition is increasingly valued for its beauty and refinement.

Kimono by Tokyo Yamaki

Tokyo Yamaki4-37-4 Ishiwara, Sumida-ku, Tokyo,130-0011 Japanshirai@tokyoyamaki.co.jphttp://tansuya.jp/

Sakai forged blades are characterised by their very sharp blade edge which is produced by hammer-welding an iron and carbon steel blade edge. This combination of the relatively soft iron and the hard edge creates a blade which does not break or bend easily and cuts exceedingly well. The Sakai region is renowned for the production of various kinds of kitchen knives for every purpose; it is said that most knives that Japanese restaurant chefs use have Sakai forged blades on them.

Sakai blades first came to prominence when the Edo government granted the Sakai craftsmen an official seal of approval, which led to Sakai products being sold all over the country. Later, during the Genroku era (1688-1704) of the Edo period, production of deba bocho, a uniquely shaped Japanese cooking knife, began in Sakai. This marked perhaps the most important point in the beginning of the Sakai knife brand as it continues to this day.

Sakai Forged Blades by Sakai Okuzen

Sakai Okuzen7-10-2 Miyake Naka, Matsubara-shi,Osaka, 580-0046 Japanokuzen@jeans.ocn.ne.jp http://www.sakai-okuzen.com/

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These cosmetic brushes are the product of craft tradition refined over 130 years. Superior quality animal hair is selected, after which more than 50 processes must be completed with meticulous care to create a single brush.

Animal hair (variously goat, grey squirrel, pine squirrel, mink, water badger) is imported from overseas and allocated to brush type by quality and finish. For some brushes, the hair may be blended. Hairs are then checked fastidiously; each strand is inspected for breakage and twisting. Finally, the hair is bundled and tied, without being cut. The result is brushes that are soft, sturdy, and genuinely long-lasting.

Kashoen blends respect for tradition in production with a dynamic drive for innovation in design; above all, the company strives to create products which do justice to the elegance and beauty of traditional Japanese craftsmanship. The company’s aim is to grow its legion of satisfied customers by introducing people to products crafted with true skill and care.

Cosmetic Brushes by Kashoen (Aizawa Kikaku)

Kashoen (Aizawa Kikaku)16-20 Sumiyoshicho, Naka-ku,Hiroshima-shi, Hiroshima, 730-0813 Japana-takamoto@kashoen.jphttp://www.kashoen.jp/

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Aizawa Kikaku Ltd,.Ohmiya nakacho centre building 8F,Oomiya-ku Nakacho 2-23-2, Saitama shi, Saitama, 330-0845 JapanTel: +81(0)48 658 3000 Fax: +81(0)48 658 3001http://www.aizawakikaku.com yamasaki@aizawakikaku.com